Hornist Peter Damm and organist Hansjürgen Scholze have put together a very attractive program of original music and transcriptions from the Baroque and Modern eras. (Several of the works were written well into the eighteenth century, but their sensibility is far more Baroque than Classical.) Damm plays a natural horn with such finesse and evenness that it could reasonably be mistaken for a valve horn; his trills are a particular pleasure, both agile and limpid. Damm's playing sounds more French than German; his bright, ...
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Hornist Peter Damm and organist Hansjürgen Scholze have put together a very attractive program of original music and transcriptions from the Baroque and Modern eras. (Several of the works were written well into the eighteenth century, but their sensibility is far more Baroque than Classical.) Damm plays a natural horn with such finesse and evenness that it could reasonably be mistaken for a valve horn; his trills are a particular pleasure, both agile and limpid. Damm's playing sounds more French than German; his bright, almost trumpet-like tone and use of vibrato set him apart from the more mellow and robust German style. It's well suited to this repertoire, where a clean, clarion sound works well in the reverberant recording environment of the Catholic Cathedral of Dresden. The Cathedral's exceptionally rich eighteenth century organ is a star of the recording; it's an instrument Mozart admired highly, and it's easy to tell why. (It survived the Dresden bombings because it had been removed to a rural...
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